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Matthew Guilford is solo bass trombonist with the National Symphony Orchestra since his appointment by Mstislav Rostropovich in 1991. Previously he was a member of the San Francisco Opera Orchestra and he has performed with several of America's leading orchestras including the Boston Symphony, Boston Pops, Minnesota Orchestra, New York Philharmonic and San Francisco Symphony. He has also performed with Music of the Baroque in Chicago, The Chicago Chamber Musicians, and the Grand Teton Music Festival.

Matthew has studied with Jerry Shaw, Norman Bolter, Douglas Yeo and John Swallow, and is a graduate of the New England Conservatory. His career has included a national tour of the Broadway musical Les Miserables; the motion picture soundtrack for the film Predator II and fellowships to Tanglewood and the Los Angeles Philharmonic Institute. He has been a featured soloist with the National Symphony, The Eastman Wind Ensemble, the U.S. Army Band & Orchestra and the Harvard University Band. His solo and chamber recordings, The Road Not Taken with The Washington Trombone Ensemble and Brass Trios with the University of Maryland Brass Trio have been received to worldwide critical acclaim.

A faculty member at the University of Maryland in College Park since 1992, Matthew serves as trombone studio chair and Associate Artist in Residence. Many of his former students enjoy successful careers as performers and educators. An active educator and clinician, Matthew has given master classes at most of the top conservatories and universities in the United States and abroad.

Latest Blog Post

David Taylor has a few things happening this winter. First, he and his Calithumpians (Ron Stabinsky, Moppa Elliot, and Kevin Shea) will be at Roulette on December 7. This concert is presented by Interpretations and will include Dave’s Big Stories for a Small Group. Roulette is at 509 Atlantic Avenue in Brooklyn. There are musicians in this […] more ››

In Their Own Words

"My Edwards trombone is a joy to play in every situation. It allows me to create the sounds I want to make and doesn't get in the way of the music I'm trying to create. It allows the flexibility I need in solo and chamber settings but has the breadth of sound necessary to contribute in the orchestra.

"The bottom line is that whether I'm playing ballads to myself or launching an assault on the viola section, my Edwards trombone just works."